Since the publication of the original German edition of this book,
much has happened. There has been a great revival of interest in
labyrinths. This chapter has been added to the book to update the
reader to the summer of 1999.

This material is copyrighted by Prestel and cannot be distributed
without permission. Historically, the Kern book has been the ultimate
compendium on labyrinths. Jeff Saward is moving in on him, but it
is still an important book for serious scholars.

Britain

About the time that Hermann Kern was researching material for his labyrinth
book in the late 1970's, a modest labyrinth revival was already in progress
in Britain. The reprinting of W.H.Matthews' Mazes & Labyrinths
in 1970 and the publication of Janet Bord's Mazes and Labyrinths of
the World in 1976 provided a valuable stimulus for this revival, with
researchers such as Nigel Pennick producing a number of small, self-published
titles from the mid-70's onwards. The maze building exploits of Greg Bright
at Pilton, Somerset in 1971 and the subsequent use of his complex swirling
design for the hugely influential hedge maze at Longleat House, planted
1975, triggered the new interest in puzzle mazes. This interest was documented
and encouraged with the founding of Caerdroia, the Journal of Mazes
and Labyrinths by Jeff and Deb Saward in 1980. A series of lectures
and events during the 1980's allowed many British labyrinth enthusiasts
to meet, share their knowledge and discover the work of other researchers,
particularly the work of John Kraft, Bo StjernstrØm and others
in Scandinavia. Jeff Saward and Hermann Kern met on one brief occasion
in 1983. Saward was to continue publication of Caerdroia to the
present day, for almost two decades now, in addition to traveling extensively
and accumulating an admirable body of photographs and documentation, many
of which were used in the English Edition of this book.

The designation of 1991 as 'The Year of the Maze' as a tourism theme
by the English Tourist Board saw a flurry of new mazes installed and the
publication of several popular books, coinciding with the events and publicity
planned for the year. Nigel Pennick's Mazes and Labyrinths and
Adrian Fisher's The Art of the Maze introduced the subject to a
whole new generation of readers. Heightened media awareness ensured publicity
for many maze-related events, culminating in Labyrinth'91, an international
conference at Saffron Walden in July 1991. Maze and labyrinth enthusiasts
from the UK, USA and Europe gathered to meet and join the celebration
of the restoration of the important early 19th century hedge
maze, at Bridge End Gardens, in the town.

Adrian Fisher, during the same time period, has established himself as
the world's foremost maze builder, with some 200 installations in such
divergent locations as schools, museums, gardens and amusement parks around
the world. For the most part his work is modern and multi-cursal, but
a number of his designs draw inspiration from the earlier uni-cursal labyrinths.
His fascination for maze puzzles started with the construction of his
first hedge maze in 1975 and developed during the early 1980's, when he
started his maze design business, Minotaur Designs. Early partnerships
with Randoll Coate, Graham Burgess and others, brought in a number of
different influences and design themes to Fisher's work, which has developed
to introduce a number of radical new interactive features and construction
materials to the maze design world. Along with the familiar formal hedge
mazes, Fisher has installed mazes constructed of mirrors, wooden fencing
panels, brick pavement, colored plastic tiles and walls of water fountains.
The latest of these developments, the Maize Mazes, currently popular in
the late summer cornfields of Europe and America, has seen the construction
of the largest public mazes ever recorded, with path lengths approaching
four miles.

Fisher's former design partner, Randoll Coate, has pioneered the use
of multiple superimposed imagery for maze designs in the 20 or so examples
he has been involved with. The resulting combination of ancient symbolism,
familiar in labyrinth design, within a modern maze, has been most innovative
and can be seen to good effect in a number of examples throughout Europe
- particularly at Varmlands, Sweden and the recently planted Sun Maze
& Lunar Labyrinth at Longleat, England.

UNITED STATES

Meanwhile, the labyrinth revival in the United States took two parallel
tracks. After reading Gerald Heard's story Dromenon, author Jean
Houston began to include the labyrinth in her seminars as far back as
the 1960's, even adopting the labyrinth as her logo. Greater emphasis,
however, was given to the labyrinth, under the name dromenon, in
Houston's well-known Mystery Schools B
beginning in the mid-1980's. The dromenon is based on the medieval cathedral
labyrinths, with the same path pattern as the Chartres labyrinth, although
of different overall proportions and excluding the petals and perimeter
decoration.

It was through Jean Houston that The Reverend Dr. Lauren Artress, Canon
for Special Ministries at Grace Cathedral (Episcopal) in San Francisco,
became inspired by the labyrinth. Traveling with a portable canvas labyrinth,
Artress almost single handedly began the revival of interest in churches
to rediscover the lost tradition of the labyrinth. Her book, Walking
A Sacred Path: Rediscovering the Labyrinth as a Spiritual Tool (Riverhead
Books, New York, 1996), has become the standard guidebook for the meditative
use of the labyrinth. (((Illustration: Cindy Pavlinac's photo from above,
at Grace cathedral, looking down at the labyrinth. Caption: "Replica of
the Chartres labyrinth - with slight modifications - woven into a wool
carpet and displayed in the nave of Grace Cathedral in San Francisco.
Photo by Cindy Pavlinac."

The two permanent labyrinths installed at Grace Cathedral B
one indoors and one outside, the latter being open 24 hours a day B
have been walked by an estimated one million people in the last five years.
A number of these people went home to their churches and either purchased
or made their own labyrinth. Artress currently works full time as head
of the non-profit organization Veriditas: The Worldwide Labyrinth Project.
Hundreds of people have been trained as labyrinth facilitators through
the on-going programs of Veriditas. Labyrinth Projects based on the Veriditas
model were formed in other parts of the country, first by Helen Curry
in Connecticut, by Robert Ferré in Missouri, by Annette Reynolds
in Alabama, and elsewhere.

Independent of the labyrinth revival in churches, a parallel movement
developed amongst American dowsers in the mid-1980's through interaction
between Sig Lonegren and Jeff Saward, editor of the British labyrinth
journal Caerdroia. Lonegren and Richard Feather Anderson began
to install labyrinths at national and regional conventions of the American
Society of Dowsers, an activity soon passed on to Alex Champion, a full-time
labyrinth and earthworks builder since 1989. Both Lonegren and Anderson
taught courses in geomancy and sacred space, including how to build and
use labyrinths. In 1991, Sig Lonegren's book Labyrinths: Ancient Myths
and Modern Uses was published, immediately becoming a popular resource
for labyrinths. So, too, were Champion's self-published

books, Earth Mazes (1990) and Earth and Other Mazes (1996).
(((Illustration: Ariel view of Alex Champion's yard, which has four earthworks
labyrinths. Caption: "Four earthworks labyrinths constructed by Alex Champion
at his home in Marin County, California."

Increasing activity on both labyrinth fronts led to the establishment
in 1994 of a publication called The Labyrinth Letter, edited by
Jean Lutz in Scottsdale, Arizona (no longer published). She also organized
the first and second annual national labyrinth conferences in 1995 and
1996. Additional labyrinth conferences were sponsored by Labyrinth Enterprises
in 1997 and 1998, during which an international labyrinth organization
was formed. Now operational, The Labyrinth Society is poised to become
a major resource for labyrinth education, research, and activity. (For
information on The Labyrinth Society see the list of web pages at the
end of this chapter. )

The labyrinth revival has seen a number of innovations with regard to
labyrinth designs and construction techniques. Traditionally, medieval
cathedral labyrinths were indoor pavement labyrinths, most often of the
Chartres pattern, whereas Scandinavian Troy Towns were classic labyrinths
made of stones and located along the shores of the Baltic Sea. These distinctions
have become blurred. Pavement labyrinths have been moved outdoors, painted
on cement or asphalt, or constructed of granite, brick or terrazzo. The
Chartres pattern has been made in sizes up to 100 feet in diameter using
the Troy Town technique of laying out stones on the ground, often adding
wood bark or mulch for the surface of the paths. One such construction
at the Unitarian Universalist Congregation in Elgin, Illinois (near Chicago)
is called "The Earth Wisdom Labyrinth," combining both pagan and Christian
connotations.

Artist Marty Cain has promoted a variation of the classical 7-circuit
labyrinth seed pattern which results in a symmetrical (although not completely
round) classical labyrinth (((Illustration: the mystical labyrinth in
the mist in Georgia, caption sent earlier.))) , whereas instructional
material written by Robert Ferré suggests enlarging the center
of the classical labyrinth, in order to accommodate more people. An entirely
new labyrinth design, called the Santa Rosa Labyrinth, has been introduced
by Lea Goode, which combines the two most popular styles, being seven
circuits, round, with interior Chartres-like turns and proportions.

As labyrinth walking has become more and more popular, the demand is
sometimes met by making temporary or portable labyrinths. For example,
labyrinths drawn and painted on canvas may be unfolded, used for a matter
of hours, and then returned to storage. They can be transported from place
to place, with the set-up time being only a matter of minutes. Other media
used to make temporary labyrinths include masking tape, rope, and engineers'
flags. Some temporary labyrinths have been small Troy Towns, with each
participant to the event taking home several of the stones, thereby dismantling
the labyrinth. Other labyrinths have been made by drawing in the sand
or painting the grass. Stewart Bartholomaus has became recognized for
his efforts in mowing labyrinths by leaving some grass long and cutting
other areas (the paths) short. (((Illustration from transparencies sent
previously of Stuart Bartholomaus mowing a labyrinth into the grass. Caption:
"Stuart Bartholomaus in the process of mowing a labyrinth in a church
yard in Eden Prairie, Minnesota. This is one of the least expensive ways
to make a labyrinth. The "walls" can be left to grow long or may be trimmed
for a more manicured look.")))

In 1979, labyrinth researcher Jean Louis Bourgeois (who contributed material
to Hermann Kern on labyrinths in India) conducted a study of the hedge
maze in New Harmony, Indiana. This maze was built in 1939, patterned after
the original maze constructed in1814 by Harmonists, a German community
seeking religious freedom in the New World. Harmonist leader Frederick
Rapp was known to have admired the work of Johann Valentin Andreae (1586-1654),
whose design of a utopian labyrinthine city, Christianapolis, is pictured
in Illus. -----(336). While the hedge maze is currently in a sad state
of disrepair, that's not the end of the story for New Harmony.

The entire Harmonist village was purchased (and renamed New Harmony)
by Scottish industrialist Robert Owen in 1824 to fulfill his vision of
a place for intellectuals and scientists. During the past 50 years, Mrs.
Jane Blaffer Owen, wife of the current 20th-century Robert
Owen, has made a concerted effort to reestablish New Harmony as a place
of art and beauty. A recent project involved constructing a full-scale
granite replica of the Chartres labyrinth, set in a park specifically
designed to reflect the sacred geometry of the nave of Chartres Cathedral.
Architects Kent Schuette and Rob Sovinsky guided the building of the Cathedral
Labyrinth, as it is called (see Illust. --), which is arguably the most
beautiful labyrinth in the United States (dedicated in October, 1997,
by Chanoine François Legaux, Rector of Chartres Cathedral). (((Illustration
- The Cathedral Labyrinth, from professional transparencies previously
sent, also used for the frontispiece for this chapter.))) Part of the
ensemble includes a fountain by artist Simon Verity, which allows walkers
to go barefoot on the smooth granite and then wash their feet afterwards.

SCANDINAVIA

Likewise starting in the mid-1970's, the labyrinth research of John Kraft,
Bo StjernstrØm, JÝrgen Thordrup and others, has seen a remarkable
resurgence of interest in the labyrinth within Scandinavia. Building on
the archival works of earlier authors, Kraft and StjernstrØm have
diligently researched, located and catalogued the considerable number
of sites, predominantly stone labyrinths, throughout the region. Publishing
their findings in a number of archeological and historical journals, as
well as in newspapers and magazines (including a number of English language
summaries in Caerdroia), has presented this wealth of material
to a wide audience and generated much interest in the subject. The application
of archeological dating techniques to the stone labyrinths from the mid-1980's
onwards by Noel Broadbent and Rabbe SjØberg, has revolutionized
the understanding of these enigmatic monuments and brought them to the
attention of the archeological community. This in turn is promoting further
research and official recognition and preservation for the surviving examples.

A number of replicas of the ancient labyrinths have been constructed
in school yards and childrens' playgrounds and at other educational foundations,
particularly in Denmark. The installation of a stone labyrinth at the
popular re-creation of an Iron Age village at Lejre, in 1979, has led
to a number of similar examples in Denmark and elsewhere throughout Scandinavia.
The tireless work of JÝrgen Thordrup, promoting the labyrinth in
his native Denmark, has seen a number of examples constructed in playgrounds
and parks, often in connection with schools and local cultural projects.
Kraft and Thordrup have also been closely involved with a number of art
exhibitions with a labyrinth theme held in Scandinavia since 1995.

FRANCE

The revival of labyrinth interest in France has been reflected in the
number of books on the subject published in recent years. A leading proponent
has been John Ketley (Chartres, le labyrinthe déchiffré,
Editions Garnier, Chartres, 1997), who utilized the extensive measurements
and research of John James=
three-volume study of the masons who built Chartres Cathedral. James attributes
the building of the labyrinth to the first and most important mason, who
also appears to have laid out the design of the cathedral and who later
made the magnificent western rose window. James proposes that the labyrinth
was the first element to be completed within the cathedral (1201), and
that it occupies an essential position in its sacred geometry and symbolism.
Ketley elaborates on James' theme.

In L'univers secret du labyrinth (Editions Robert Laffont, S.A.,
Paris, 1992), Paul de Saint-Hilaire discusses various esoteric aspects
of the labyrinth, and includes an illustrated catalog of 500 existing
labyrinths. Dominique Naert has written an excellent monograph in Le
Labyrinthe de la Cathedrale de Reims, La Signature des Bâtisseurs
(Sides, Fontenay-sous-Bois, 1996). In his examination of existing
research on labyrinths, Hermann Kern was not hesitant to declare a theory
"untenable" or a work "inadequate." He would have rejected much of the
French literature, which often fails to distinguish between labyrinths
and mazes (see footnote 1, Chapter 1). In L'esprit du labyrinthe
(#104 in the "Question de -" series of Albin Michel, Paris), Patrick
Conty spends many pages describing the geometry of knots, which, lacking
a single path and a defined center, are not labyrinths at all. Even further
a field is Jacques Attali's Chemins de sagesse, traité du labyrinthe
(Fayard, 1996, translated into English as The Labyrinth in Culture
and Society: Pathways to Wisdom, North Atlantic Books, Berkeley, 1998),
which, while acknowledging the difference between unicursal and multicursal
patterns, proceeds to totally disregard that difference.

The French fascination with multicursal mazes as games is reflected in
a new tourist attraction, founded in 1996 in the Loire Valley near the
town of Loches. Called Labyrinthus, it offers six maze designs
including a large cornfield maze.

The new cathedral in Evry, a planned town on the outskirts of Paris,
is the only cathedral built in France during the past 200 years. Designed
by Swiss architect Mario Botta and finished in 1995, the cathedral contains
800,000 red bricks. An octagonal chapel off the main sanctuary contains
a labyrinth on the floor, a small version of the one at Amiens. Since
it goes all the way to the walls, and the room has furniture (pews, altar,
etc.), it is not possible to walk the labyrinth, which for some reason,
is neither pictured nor even mentioned in the booklets describing the
cathedral.

At Chartres Cathedral, the labyrinth tradition is slowly reviving after
centuries of dormancy. Previously the chairs were removed from the labyrinth
and the public allowed to walk it only two or three times a year. This
began to change in June, 1997, when Chanoine François Legaux, Rector
of Chartres Cathedral, visited Grace Cathedral in San Francisco to see
their labyrinths. His interactions with The Reverend Dr. Lauren Artress
and The Very Reverend Dr. Allen Jones, Dean of Grace Cathedral, allowed
the Rector to envision a contemporary relevance for the labyrinth consistent
with the Christian mission of Chartres Cathedral. Continued close ecumenical
activity between Grace Cathedral and Chartres Cathedral has resulted in
the uncovering of the labyrinth in Chartres Cathedral during the past
two summers (1998 and 1999), with time reserved at the end of the day
for public walking. Thus has the medieval cathedral labyrinth tradition
made full circle, as labyrinths are wont to do, from Chartres Cathedral
to America and back again.

SWITZERLAND

More than in other countries, Switzerland seems to embrace the appropriateness
of labyrinths in public places, of which more than 50 have been established
in recent years, in addition to dozens of other on private property.

The impetus for public labyrinths began when artist Agnes Barmettler
and art teacher Rosmarie Schmid won first place among 140 entrants in
a 1989 design competition for public spaces, sponsored in Zurich for the
700th anniversary of the founding of the Swiss Federation.
The project was constructed on the site of a former military academy (Zeughausareal),
just a ten minute walk from the central train station. Some 30 meters
(98 feet) in diameter, the labyrinth is of contemporary design including
landscaping that is maintained by a corps of women volunteers.

In fact, the labyrinth revival has been largely the responsibility of
women, especially the organization Projekt Labyrinth, Oefffentliche
Frauenplatze International an 133 Orten, which took on the goal of
establishing 133 public labyrinths by the end of the century. Barmettler
and Schmid, both well-versed in the philosophy and tradition of labyrinths,
have served as consultants for the construction of many other projects.
Sites for labyrinths include protestant and Catholic churches and academies,
retreat centers, universities and women's organizations. Although initiated
by women, the labyrinths have drawn a wide range of participants, men,
women, and children, for meditation, ceremonies (such as full moon and
solstice celebrations), cultural events, and sacred dance.

Besides the Chartres and Cretan patterns, another commonly used design
is the Scandinavian or Baltic Wheel, which allows a choice between a longer
path or a shorter one, an especially useful feature in very large labyrinths.
(((See Illust.--- (Boldern)))

The women creators of Switzerland's labyrinths have emphasized harmony
with the natural surroundings, including trees, rocks and brooks in the
designs. Case in point, the labyrinth at the Academy of Boldern, Männedorf
(on Lake Zurich), placed in front of a Japanese pavilion, has the feel
of a Zen garden. This is the largest labyrinth in Switzerland and follows
the pattern of the Baltic Wheel pattern in Hanover, Germany. (((Illus.
- - - Boldern)))

Another leading figure in the promotion of Swiss labyrinths, Susanne
Kramer-Friedrich, has developed a guide to labyrinth locations (((see
chart, Illus. -----))), which is also featured on the Internet (see list
at end of chapter). It is interesting that Swiss labyrinth activity has
been centered around Zurich, the same city that contains the only medieval
example of a labyrinth displayed on a secular building (((see Illus ----
(346))).

GERMANY

When Hermann Kern was compiling his work in the late 1970's, the partition
of East and West Germany caused serious problems for researchers attempting
to look beyond the 'Iron Curtain'. Kern himself was convinced that the
turf labyrinths at Steigra and Graitschen in Eastern Germany had long
since vanished, since no reference to them had been published in Western
literature since before WWII. A visit to both these labyrinths by Jeff
Saward in 1983 proved otherwise and provided an impetus for further research.
Archival work by Nigel Pennick, John Kraft and more recently by Kurt Kròger,
has since provided more information on labyrinths in Germany. (((Refer
here to an update at the end of one of the chapters, referring to new
information about existing German labyrinths?)))

In recent years a number of new labyrinths have appeared in Bonn, Stuttgart,
Frankfurt-am-Main and Karlsruhe, amongst others, with more in the planning
stages for Erfurt, Dresden and Hannover. Artist Gundala Thormaehlen Friedman
has constructed Cretan labyrinths at her residence in Bad Krueznach as
well as in Disibodenberg at the cloister of 12th-century Abbess
Hildegard of Bingen (1098-1179). Labyrinth researcher and author Gernot
Candolini reports the following recently constructed labyrinths: Würzburg
(Haus St. Benedikt, Cretan, stones on grass), Augsburg (St. Sebastian,
Chartres, bricks in grass), Hofheim-Langenheim (Lutheran Church, Cretan,
construction not reported), Nelingen-Ostfildern (Labyrinthfrauen, classical,
landscaped with flowers), Ingersheim (Lutheran Church, three-circuit pavement
labyrinth), and Stuttgart-Zazenhausen (Lutheran Church, Chartres, pavement).

Most German labyrinths are again the result of women's groups, inspired
and assisted by the labyrinth community from Switzerland. Schmid and Barmettler
have made more than 50 presentations to Volkshochschulen (institutions
for permanent education) , Frauenzentren (women's centers), and
other groups in Germany. As in Switzerland, there is a strong bent toward
geomantic considerations in the design and placement of the labyrinths.

Dancer Dagmar von Garnier is organizing a special labyrinth for the Millennium
Womens' Festival in Frankfurt, the 1st and 2nd of
June, 2000. Each of the 1000 flagstones forming the labyrinth path will
be engraved with the name of a woman, famous or forgotten, in mythology
and history. (For more details, see Internet sites at the end of the chapter.)

AUSTRIA

Recent constructions in Austria include a hedge maze in the shape of
an outstretched hand at Wattens, by André Heller, and the construction
of a number of temporary labyrinths at the Tiroler Gartenschau in Innsbruck
by Austrian labyrinth enthusiast Gernot Candolini (author of two labyrinth
books published in Germany: Labyrinthe: Ein Praxisbuch zum Malen, Bauen,
Tanzen, Spielen, Meditieren und Feiern and Geheimnisvolles Labyrinth
- Mythos und Geschichte eines Menschheitssymbols, both Pattloch Verlag,
Augsburg, 1999). In Schloss Schonbrunn a new hedge maze for the Irrgarten
opened in September, 1999. It was designed (by Candolini) after one of
the six elements of the original 18th -century maze on the
site, destroyed at the end of last century.

Despite the absence of a native labyrinth tradition in Australasia or
the Far East, it is perhaps not surprising that the spread of European
colonialism to this region from the late 18th century onwards should bring
the labyrinth, in one or other of its forms, to establish a foothold on
the opposite side of the globe from its earliest recorded examples. The
splendid maze at Peking, constructed of high brick walls enclosing small
groves of trees and a central pavilion, was built in the gardens of the
Imperial Court by 1766, but destroyed in 1860. The first maze in Australia
would appear to be the Ballarat hedge maze, in the Botanical Gardens,
originally planted in 1862, cleared in 1881, replanted in the late 1880's
and eventually destroyed in 1954 (although plans remain on file to restore
it again someday). Several other early examples are all of the traditional
hedge maze variety: Belair, 1886 (the only survivor, but overgrown); Geelong,
1896; Melbourne, 1890's; indeed most are direct copies of hedge mazes
in Britain, from where this influence originated. The first maze to be
established in New Zealand, in 1911 at the Dunedin Botanic Garden, was
likewise a hedge maze, but regrettably was finally removed, after initial
re-siting and restoration in the 1930's, in 1947.

In recent years the concept of the maze has once again become popular
in Australia and New Zealand. The start of this modern maze expansion
can be traced to the construction, in 1973, of the Wanaka Maze by Stuart
Landsborough. This innovative maze was the first to utilize wooden fencing
panels to construct a large, challenging puzzle maze, which could be installed
almost 'overnight'. Landsborough has continued to develop and refine his
maze and has experimented with bridges and multiple layers of decks along
with movable sections of fencing to make the puzzle easier, or more difficult,
for visitors. During the early 1980's Landsborough was involved in creating
a number of similar mazes elsewhere in New Zealand and Australia and this
maze concept was widely imitated throughout the region. It's introduction
into Japan at this time resulted in a remarkable craze for these ever
more elaborate and complex wooden panel mazes. In the space of five years,
in the mid-1980's, as many as 200 were built, although only the better
sited and commercially successful survive.

In the closing years of the 20th century, the maze is still
a popular entertainment in Australia and New Zealand. The Wanaka Maze
still proves popular and is the flagship for maze interest in NZ. A flurry
of new mazes planted or opened in the last few years in Australia includes
some huge creeper mazes (fast growing creepers over trellis work) and
several multi-maze complexes - including the splendidly named Tasmazia
in Tasmania and the Hedgend Mazes at Healesville, Victoria. After nearly
a century and a half of mazes in the region, it is interesting to hear
that in the last few years several groups have sprung up in Australia
that are building labyrinths - influenced directly from the example in
Grace Cathedral, California.

Conclusion

Surely Hermann Kern would have been interested to see how, at the end
of the fourth millennium in which the labyrinth story has unfolded, this
most ancient of symbols has now found its way to just about every corner
of the world. Entering the next millennium, it shows no sign of losing
its relevance in a global society where modern technologies allow ideas
to disseminate over great distances almost instantaneously. During the
last twenty years or so the labyrinth symbol and its attendant mythology
has undergone a rapid evolution, becoming once again a vibrant concept
which has infiltrated into many aspects of public consciousness. The recent
upsurge of interest in its history and development has seen a sharing
of ideas and information, a bringing together of practitioners and researchers,
designers and creators. At the same time the labyrinth has been appropriated
by the media as a theme for computer games, financial chicanery, feature
films and television alike. Alongside this is the current resurgence of
the labyrinth in its many multicursal forms as a fundamental part of leisure
development, with the construction of many hundreds of puzzle mazes, often
large and complex, in parks and playgrounds throughout the world. And
the simple, unicursal labyrinth continues to spread yet further a field,
often alongside its complex cousins. A process which we have seen happen
a number of times over the past millennia and which provides a surprising
modern-day parallel for previous episodes of labyrinth popularity.